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ScanLink
1998
video
ScanLink can be described as walking the web backwards. The underlying topology of connectedness, such as popularity and power distribution, is shown through a reverse traversal of links for any given web page. Using ScanLink the user can select a
Klanica 5
2007
-
2010
video
...(co-production with
Amsterdam
Cyber Theatre and Academica, Belgrade)
i2tv - Interactive TV
1999
-
2000
video
I"TV : INTERACTIVE IMMERSIVE TV 1999 / 01 i2tv is a model for an electronic arena that explores a new form of live artistic production integrating on-line participants with participants at a real physical location. Participants take part in a
At Play
2016
video
Responsive audiovisual installation where visitors playfully stack, as if pieces of a giant interactive puzzle, plastic bins that act as symbols of containers transiting world markets. Video-mapping projections react to the new sculptural
Life Spacies
1997
-
1997
video
"Life Spacies" is an interaction and communication space, where remotely located visitors can interact with each other through evolutionary forms and images. "Life Spacies" enables visitors to integrate themselves into a 3 dimensional complex
Shades of Absence: Governing Bodies
2013
video
“Shades of Absence: Governing Bodies" Addresses artists who have been censored by - or due to threats by - high members of the U.S. government. Premiered in 2013 at "Manifest:AR," curator Joseph Hale, Corcoran Gallery of Art/Corcoran School of Art
Swarming Lounge
2018
video
Mixed-reality installation with live and virtual performers, encountered via the smartphones of the visitors. Real and virtual situations come together, and micro-narratives emerge, based on shifting degrees of presence, traces of daily gestures and
Future Room
2017
video
Fulldome participatory installation as a metaphor for a prediction machine. Virtual space of knowledge where visitors trigger, via a voice recognition system, one of the twelve clouds of information on the future of work, education, democracy...
schème
2001
video
Two dancers/performers interact with an audio-visual environment. Their movement data control cameras, microphones, and architectural projections of 3D representations of each performance venue. Four scenes, made up of choreography and media, play
entre-deux
2002
video
Performers tele-dialogue from two distinct places with a single spectator at a time, whose shadows become the theater of the work. Each performance is unique and constitutes a singular experience for the visitor, who is no longer only a passive
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